#patrick flegel

[guessimdumb]

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Cindy Lee - I Don't Want to Fall in Love Again (2020)

Cindy Lee, alter-ego of Toronto based musician/drag queen Patrick Flegel. are getting lots of attention these days for their new LP Diamond Jubilee. I noticed that I already had a Cindy Lee track from a few years ago, and I gave it a (re)listen. Very cool, haunting lo-fi Velvet Underground influenced melodic bliss.

[bandcampsnoop]

6/9/26.

Look for angels announcing the arrival of The Clog's debut LP from a mountaintop. For me, at least, that's how hopeful and expectant I've been for the better part of 7 years - this LP deserves some sort of biblical announcement. In 2019, The Clog wowed me with a terrifying and beautiful 7". And then...a few shows, some recording, but no release.

George Carpenter is The Clog (Los Angeles, California), but he enlists a cast of collaborators on this LP. "Fog Devil" is the "lead single" (although "Come Ye & Follow Me" was released in April) and it tends more to the "terrifying and beautiful", while "Come Ye & Follow Me" is more beautiful. Carpenter has been playing music his entire life - playing in bands Red Asphalt and Fish Breath before The Clog. He learned guitar with Patrick Flegel (Cindy Lee) and one can hear that from time to time.

But really, this makes me think mostly of the wonderful world of Ty Segall in the way it whiplashes from hard and dirty to melodic and lush. It looks to me like this is self-released. Be sure to RSVP for the Listening Party on June 10th.

[ruiraiox]

INTERVIEWS

John Holmstrom (PUNK Magazine) Billy Gardner (Anti Fade Records) The Stress Of Leisure Yeti Ghetto Paris Richens (Parsnip / Hierophants / P.

INTERVIEWS....and JOHN DWYER (OH SEES / DAMAGED BUG) , Kathleen Hanna (Bikini Kill / Le Tigre / Julie Ruin)

DAMO SUZUKI , KID CONGO AND THE PINK MONKEY BIRDS

KIM SALMO, BIG JOANIEN , LOW LIFE , ED KUEPPER, GUS ROMER (AMYL AND THE SNIFFERS), PATRICK FLEGEL (Cindy Lee) , JAMES WILLIAMSON (The Stooges), QUINTRON, SLEAFORD MODS , SQUID, Gerald Casale (DEVO), Scott Ryser (Units), LIQUID FACE

Steve Ignorant (Crass / Slice Of Life), Keith Levene (PiL / The Clash)

[kristinwildly]

Darling of the Diskoteque

4/30/24

When I read that Cindy Lee was on her last American tour, I knew that I had to see her play in Salt Lake City. When her new album was released on March 30th, I was streaming it within hours and have been since. I panicked even more when I saw that the advance ticket sales were sold out. Fortunately, I was able to secure a press pass last minute, thanks to the folks who run International Lounge, where the show was. At 3:50pm on Saturday, I threw my sleeping bag, my camera, a change of clothes, and my laptop into my car and took off for Salt Lake. I didn't have much money, or a secure plan at all, but I arrived at the venue at exactly 7:54pm, 6 minutes before showtime.

It was worth the anxiety. After covering Treefort Music Festival last month, I was sure I had lost my love for seeing live shows, which I feel like I am still recovering from. A reminder to never force myself to watch bands I don't care much about. Cindy Lee's show was just another reminder to be so selective, her show definitely transcended me to a different place, one I am not familiar with but want to visit more often.

📸: Fujifilm X-H2S

[musicmovesmarceline]

cindy lee - diamond jubilee (2024) full album HQ

achingly gorgeous stuff

[dmduc]

[abductionradiation]

Calgary, Canada -- Cindy Lee released their new album Cat O’ Nine Tails this week on their own label Realistik Studios. This is Cindy Lee’s 6th album and 2nd album of 2020, having released What’s Tonight to Eternity back in February. The new record is available digitally exclusively through Realistik Studios but you can get a taste of the album with “I Don’t Want To Fall In Love Again”. The song is just over 4 minutes long and it’s got a gorgeous vintage pop sound. There’s a mystical nature to Cindy Lee’s music, feeling timeless. The echoes on “I Don’t Want To Fall In Love Again” give it a lot of room but still feels intimate and warm. With their vocals are soft and the doo-wop-esque trills of the guitars, Cindy Lee will have you yearning for more. 

Cindy Lee is an extension of Patrick Flegel, formerly of the band Women. 

CAT O' NINE TAILS TRACKLIST:

I. OUR LADY OF SORROWS 1:45* II. CAT O' NINE TAILS 1:42* III. FAITH RESTORED 2:55* IV. LOVE REMAINS 3:27 V. CAT O' NINE TAILS II 0:59* VI. AS I'M STEPPING THRU THE GATES 3:12 VII. CAT O' NINE TAILS III 1:47* VIII. I DON'T WANT TO FALL IN LOVE AGAIN 4:14 IX. BONDAGE OF THE MIND 4:23  

* = Instrumental

[dustedmagazine]

Cindy Lee — What’s Tonight to Eternity (W. 25th Records)

What's Tonight To Eternity by Cindy Lee

The story of Cindy Lee — artistic avatar and musical persona of Patrick Flegel — is so provocative and fascinating that it often supplants consideration of the music. It also presents some weighty stylistic issues when you want to discuss it. Offstage, Flegel is Flegel. Smart, engaging, talented. Onstage, Cindy is Cindy. Beautiful, fragile, forceful. This record is neither studio nor stage; it exists outside of those spaces. We get the sounds (notably Flegel’s singularly tensile guitar and weirdly evocative production sensibility), shorn of the face, the wig, the gestures and the manifest immediacy of performance. The recordings fall somewhere between Flegel and Cindy. But this terrific new LP has her name on it, so we’ll use the corresponding feminine terms.

Cindy’s voice has gotten better and better, a falsetto that has attained an assured tonality. It doesn’t possess a lot of range, but song by song, Cindy demonstrates a highly refined sense of drama. She knows when to wrangle with the sheets of steely reverb, icy keyboards and staticky distortion that she has assembled, when it’s necessary that she be heard. And she also knows when to let her crooning and sighing recede into the middle of the mix, allowing it to become pure melody and accent, girl-group style. In “The Limit,” the damaged, halting soundscape commands the tenuous foreground, like a tinny am country station’s signal struggling to emerge from the speakers of a ’69 Ford Galaxie. In “Lucifer Stand,” her voice confidently glides above burping, glistening synths, which sound like something Gary Numan might have dreamed of in a cheap London hotel, c. 1977.  

She also knows when to let her voice drop out of the mix entirely. In the last couple minutes of “Lucifer Stand,” another woman’s voice emerges. The source is a recording presumably taken from Christian talk radio: in a vaguely Southern accent and vernacular, a woman describes struggling with Satan, wondering what it means to be “cast out of Hell” and thus contemplating “a nothingness, the abyss, a black hole.” Paradoxically, the most harrowing moment of the nameless woman’s narrative is that all of “this happened in [her] livingroom.” The quotidian environment of American life is possessed by demonic forces and unbearable misery. And that’s where Cindy suddenly cuts the tape.  

That’s a pretty good emblem for the intensity of Cindy’s music. A variety of guises of wholesome American pop — Karen Carpenter, the Ronettes, Judy Garland c. Meet Me in St. Louis — are hyperbolized and deformed, in order to reveal the visceral, hot humanity within. The tape gets creased and tattered and cut, and then spliced back together. The middle section of “I Want You to Suffer,” the best track on What’s Tonight to Eternity, is dominated by two minutes of furiously distorted, violently abused guitar noise. Then there’s some droning organ, a cooler sound, but still suffused by the ambience of lingering threat. Cindy’s voice comes back into focus, and the song’s tone changes. There’s a mournful sweetness to it, a yearning that doesn’t entirely displace the noise, but transforms it. She croons, “Still I want you / Still I want you.” To what? Suffer? Embrace her? Maybe both. Maybe she just wants us to listen. When the music is this good — consistently challenging, sometimes ugly, but good — that’s the least we can do.  

Jonathan Shaw